Intertextual Research Articles

Bradley E. Wiggins. The discursive power of memes in digital culture: Ideology, semiotics and intertextuality

This article reviews The Discursive Power of Memes in Digital Culture: Ideology, Semiotics and Intertextuality 978-1-13858-840-0978-0-42949-230-3

Engaging the Ottoman Empire: Vexed Mediations, 1690–1815. Daniel O’Quinn. Philadelphia: University of Pennsylvania Press, 2019. Pp. 468.

<i>Engaging the Ottoman Empire: Vexed Mediations, 1690–1815</i>. Daniel O’Quinn. Philadelphia: University of Pennsylvania Press, 2019. Pp. 468.

An Intertextual Approach to Narcissa Benbow in Sanctuary, Sartoris and “There Was a Queen”

An Intertextual Approach to Narcissa Benbow in Sanctuary, Sartoris and “There Was a Queen”

Fantastic theology of Robert Sheckley: A pseudo-secular world

The article considers one of the views on God existing within the modern Western literary tradition and out-side of religious systems. The image of God was chosen as a cultural phenomenon relevant for interpretation, which exists both in religious and secular discourse. The research involved the creative heritage of Robert Sheck-ley – one of the most popular authors of fantastic literature in the mid-20th century. The analysis was based on fantastic tales, since they provide the opportunity to prove all strategies for social behaviour, as well as different views on life. The image of God created by Sheckley was reconstructed using intertextual analysis, which helps identify original mythological and religious narratives and individual allusions. This provides the opportunity to define the features of Sheckley's individual fantastic theology and find the reasons for using the image of God in secular literature. The analysis revealed that the used religious names, denominations and plots bear only formal similarity with the traditional ones. They are used and interpreted arbitrarily. God is interpreted as being anthro-pomorphic, pragmatic, partial and not interested in the fate of his creation. Communication with God is described as commercialised and is built on the model of the consumer society. The works of Sheckley indicate the possibil-ity and necessity of contact between the man and God with the obligatory personal participation of the individual. The American writer creates texts that are modernised in terms of the plot using traditional Christian ideas about the spiritual development of people and the need to preserve the Christian value system as a universal one. In this connection, Sheckley offers possible behavioural models for the created image of God.

상호텍스트성 측면에서 터치텍스트 제안

상호텍스트성 측면에서 터치텍스트 제안

Проблемы лингвистического восприятия текста и подтекста

Проблемы лингвистического восприятия текста и подтекста

Chinese Folklore for Modern Times: Three Feminist Re-visions of The Legend of the White Snake

ABSTRACTFolktales function as a form of cultural heritage in contemporary society and offer models for interpreting experience in everyday practices, but the beliefs and values conveyed by many folktales are ingrained in a patriarchal discourse. Thus, the models they offer are challenged by the modern prominence given to women’s perspectives. This article applies an intertextual analysis in a broad cultural context by exploring how the White Snake story has been transformed to cater to modern progressive attitudes on gender and sex. By focussing on the modern adaptations of the White Snake legend by three female authors – Hong Kong author Li Bihua’s novel, Green Snake (1986), American–Chinese writer Yan Geling’s novella, White Snake (1999), and Canadian author Larissa Lai’s novel, Salt Fish Girl (2002) – this study examines how contemporary Hong Kong and Chinese diasporic female authors incorporate and adapt old folktales in their separate narratives. By adapting the well-known folktale through female voices, the three novels challenge the inherited literary and cultural tradition, interrogate and question its gendered discourse defined by the heteronormative patriarchal family structure, and suggest ways in which non-normative sexuality and gender roles can be imagined and practised by female members of the society.

God opposes the proud: James Cone, white theologians, and Proverbs 3:34

James Cone uses Scripture primarily to defend the liberation of the oppressed as the central metanarrative of the Bible. This article shifts the focus from God’s privileging of the poor to God’s opposition to the oppressor. Using an intertextual analysis of Prov 3:34, the article focuses on God’s opposition to the proud and what that opposition means as an expansion of Cone’s primary biblical thesis.

Hermeneutics of the dialogue between James and Paul on faith, works and justification

The article presents a short intertextual analysis of Old Testament quotations and allusions in Jas 2: 14-26 and in Rom 4: 1-8. Has been demonstrated the intertextual connection between Jas 2 :14-26 and Rom 4: 1-8, taking into account the closer and distant contexts of both passages with application of approach of rabbinic controversy to the analysis of the text of Jas 2: 14-26. The hermeneutical approach has demonstrated two distinct starting points for Paul and James' argumentation, which ultimately lead to commune conclusion and point of arrival – faith in Christ is organically called to be active in the works of love and mercy.

Greek popular literature magazines for children and teenagers (1950 - 1967)

Although many academic scholars in the fields of literature and history, especially from the 90s onwards, have shown an advanced interest for 19th century Greek popular novel, popular literature of the 20th century remains a little-researched academic field. More specifically, the flourishing era of the 50s and the 60s is still unexplored. During that period, popular press in Greece developed and was organized, mainly via magazines and booklets oriented to children and teenagers. So, in this case, the reflection about popular literature is combined with the problematic on children literature. But, popular and children’s fiction have a long and parallel presence in Modern Greek cultural history, which dates back before the 19th century. In this study, we make a spherical presentation of the Greek popular magazines for children and teenagers during the 50s and the 60s. Therefore, the intertextual analysis of the fictional characters is connected with the social, political and economic aspects of the magazines: the reactions of intellectuals, the ecclesiastical circles and the main political forces of that time; the dominant and versatile influence of American popular culture on the Greek press, music and cinema; above all, the readership’s identity and mindset.

Semiotics Performance By Marco De Marinis In Syair Wasiat Renungan Masa Tuan Guru Kyai Haji Abdul Madjid

Analyzing the text of Syair Wasiat Renungan Masa using semiotic approach by de Marinis can answer the basic competences, namely: 1) to identify the information of the local folk poetry dealing with the analysis of the co-text, 2) to summarize the content of the folk poetry relating to the analysis of the context, and 3) to analyze the structure and the language of the folk poetry engaging with the analysis of the text. This study discovers 1) The text of syair Wasiat Renungan Masa: (a). Structure of sound: orchestral sound, a symbol of sound, and rhyme. (b) The use of words: vocabularies, diction, denotation, connotation, figurative language, imagery and rhetoric. 2) Social and Cultural Contexts found in syair Wasiat Renungan Masa in the community of NW recitation: (a) Social context relates to gender, social status, educational background, the setting of place and time. (b). Cultural context: organizational guidelines, religious advice, state guidelines. 3). Co-text in syair Wasiat Renungan Masa: paralinguistics, kinetic, proxemic, material element, intertextuality. 4) Teaching materials of Syair Wasiat Renungan Masa for Junior High School NW that cover: Lesson Plans that consists of Core Competence, Basic Competence, Indicators, Objectives, Materials, Strategy, Media, Source, Activity, and Evaluation/Assessment.

Мұқағали Мақатаев поэзиясындағы интермәтіндік көріністер

Мұқағали Мақатаев поэзиясындағы интермәтіндік көріністер

Другости y роману Kaп шпанске крви Милоша Црњанског

Рад представља имаголошко читање недовољно проученог романа класика српске књижевности, Кап шпанске крви, а у вези с теоријом о аполонијском и дионизијском принципу елаборираном у Сексуалним персонама Камил Паље. Анализом архетипског и интертекстуалног аспекта текста, као и слика Шпаније и Немачке и њихових репрезената – јунака, расветљава се природа и функција стереотипа коју они имају унутар романескне речи Милоша Црњанског.

Intertextuality in the Novel “The Wheat Bearer”

Intertextuality in the Novel “The Wheat Bearer”

Аллюзия как вид интертекста в романе Дэниела Куинна «Измаил»

Аллюзия как вид интертекста в романе Дэниела Куинна «Измаил»

THE PROPER NAME IN THE STORIES BY VLADIMIR NABOKOV (on the examples of the stories «An Affair of Honor» and «Christmas»)

The article is devoted to the study of the semantics of proper names in the stories «An Affair of Honor» and «Christmas» by Vladimir Nabokov. Topicality of the study is due to the emergence of a large number of studies devoted to the most striking and obvious cases related to the analysis of the semantics of proper names in Vladimir Nabokov, to an insuffi cient analysis of the nominations in the texts of the small form. The work uses the methods of semantic and intertextual analysis. The analysis of the names of each character of the stories «An Affair of Honor» and «Christmas» is carried out. It turns out that the peculiarity of the story «Scoundrel» is «pairedness», which manifests itself at all levels – from name to composition. The names of characters pairwise located in the story are investigated. On the material of the story «Christmas», the phenomenon of an incomplete name is studied – one character has a name but lacks last name (footman Ivan), another has a last name but not name – Sleptsov, and the name of Sleptsov’s son is not mentioned at all in the story. The authors conclude that in small form the hero does not need to have both a fi rst name and a last name. One thing is enough – if it clearly and clearly characterizes the image, then the absence of one of the components is not signifi cant. The image of the main character is analysed, it is proved that a hero by the name of Sleptsov has moral and aesthetic blindness. The special mechanisms of correlation of the name system with the system of characters are revealed, an attempt is made to classify proper names in Vladimir Nabokov’s work. The authors propose classifying names according to the mechanism for implementing the name in the text (one-step and two-step mechanism) and according to the method of formulation (speaking name, key-name, pun-name). It turns out that Vladimir Nabokov uses the same mechanisms and regularities in building a name system in both small and large form, however, it is in stories that these mechanisms are formed and fi rst used by Nabokov. The question is raised about the need for further use of the method of analysis of proper names in Vladimir Nabokov.

Peter and the Walrus, or Petersburg at the Limits of Intertextuality

Intertextual analysis is a stock‐in‐trade of Russian modernist studies, especially when it comes to high modernism, bent as it was on countering the vague suggestiveness of the early modernist discourse with another kind of allusiveness that similarly relied on active readership but demoted metaphysical speculation in favor of cultural erudition manifest in the reader's ability to position a literary text within a network of verbal, visual, or musical artifacts. Andrei Bely's Petersburg (1913) exemplifies this practice. Yet there comes a time when newly identified subtexts fail to enrich our understanding of the novel, thereby testing the limits of intertextual interpretation as an analytical method deaf to cultural knowledge that is not formally codified and, by this token, is less accessible to latter‐day readers than to modernist artists and their interpretive communities. This essay explores obscene humor as one such presently invisible aspect of Petersburg. The identification and interpretation of the bawdy in the novel are predicated on the reader's familiarity with the lowest discursive register of Bely's day, a register whose taboo nature hinders cultural codification, defying the tried‐and‐true tools of intertextual analysis. Pushing the limits of intertextuality, Petersburg's bawdiness reflects the epistemological crisis of Russian modernism transitioning between its historical iterations. A veteran of the post‐1905 polemics in the modernist cultural community, Bely ridicules in Petersburg the values and ideals he still holds dear, better to safeguard them from the neophytes of “new art,” who mock the metaphysical bent of early modernism, and from its epigones, who devalue these metaphysics by inflationary overuse. Reviving the practice of romantic irony, Bely at once codifies and ridicules his innermost aspirations, following Vladimir Solovyov's example.

Nonfiction in contemporary literature: advantage or disadvantage? (On the material of B. Humeniuk’s works «Blockpost», M. Mathios «Private diary. Maidan. War…», N. Rozlutsky «Notes of the mobilized")

The article is devoted to the problem of nonfiction in modern Ukrainian literature. The author, based on books by domestic writers about the Revolution of Dignity and the war in the East, in particular the works of B. Humeniuk, M. Mathios, N. Rozlutsky, etc., considers the literature of fact as a separate kind of modern literature, analyzes its features in the context of similar publications. for the further consistent "fitting" of the concept into the latest literary paradigm. Such works appeared in the array of military prose for the first time, but are still one of the most popular authors and societies of publications. In terms of genre, they are eclectic - they combine diary and Facebook entries, autobiographical details, journalism, short prose and poetry; the plot is based on real events with a slight touch of art. Such texts are also characterized by heightened emotionality, as most of the authors of non-fiction texts are eyewitnesses and active participants in the Revolution of Dignity in the war in eastern Ukraine. Nonfiction texts have led to various discussions about terminological use, as well as the correspondence between the concepts of «factual literature», «documentary», «factual literature», «nonfiction» and so on. Some domestic researchers use all these terms as synonyms, considering them phenomena of the same order, meaning unimagined literature about reality. Also in the material it is convincingly proved that today's numerical advantage of documentary over fiction is not ganja, but a characteristic feature of modern literature. The work is based on scientific principles of modern history and theory of literature, it combines descriptive, historical-biographical, comparative-historical (to compare different types of characters and track the dynamics of individual images), available elements of hermeneutic method, narrative and intertextual analysis.

ІНТЕРНЕТ-МЕМЯКЗАСІБІНТЕРТЕКСТУАЛЬНОСТІ

The article considers the features of meme as a genre of Internet communication. The author focuses on the characteristics of the Internet meme as a means of intertextuality. The main attention is paid to the types and sources of intertextuality of memes in the Ukrainian-language Internet. In the last few years there has been a growing interest in study of new internet genres. To the author’s knowledge, Ukrainian internet meme has been scarcely investigated from the point of view of intertextuality. The relevance of this work is due to the fact that Internet memes in the Ukrainian media are insufficiently explored. In particular, the category of intertextuality of memes has been poorly studied. This paper presents a new look at a previously unexplored aspect of intertextuality in Internet memes of the Ukrainian-language segment of the Internet. The purpose of this article is to identify and describe the features of the implementation of intertextuality in Internet memes. The author defines the Internet meme as a unit of Internet discourse, which is characterized by a combination of standard in form and expression in meaning. In this paper, the scholar describes meme as an illustration and a text to it. Due to their nature, memes are concentrated information in a vivid form. The material for the study is Internet memes from social networks of the Ukrainian-language Internet, such as Facebook, Instagram, Twitter. In order to study intertextuality in internet memes the author uses intertextual analysis and continuous sampling method. This allowes to explore the intertextual basis of Internet memes. The research shows that the nature of the intertextuality of Internet memes is diverse. The author outlines that prototexts of Internet memes are precedent names, statements, texts and situations. The paper describes the types of precedent texts, as well as the mechanisms of intertextuality. The author separately considers the functions of precedent texts in memes. The results show that the main functions of Internet memes are a means of creating comic effect, popularization through introduction into the global context, aesthetic effect, concentrating information and intellectual play. Research on intertextuality in Internet memes appears fully justified as it is still insufficiently studied. The conclusions state that intertextuality is realized in Internet discourse, because Internet genres are interconnected and interactive. Duplication of the meme supports its precedent. Today, all texts on the Internet are interconnected by hypervocations, and the Internet has become one hypertext in the modern information and communication environment.

ЛЕКСИКО-СЕМАНТИЧЕСКИЕ ОСОБЕННОСТИ ЖАНРА "КИНОРЕЦЕНЗИЯ"

The article describes distinctive features of a film review as a speech genre which is now one of the most popular genres of the mass media net discourse. The article proves its intertextual character and analyses its lexical and semantic features. Film reviews taken from the following sources: sites of cinema goers: www.imdb.com, www.empireonline.com, www.pluggedin.com ; official sites of film critics (e.g. R. Ebert) https://www.rogerebert.com; official sites of the newspapers: The New York Times https://www.nytimes.com/reviews/movies, The Guardian https://www.theguardian.com/film+tone/reviews and other sites: https://www.imdb.com/search/keyword/?keywords=movie-review, https://www.pluggedin.com/movie-reviews/. The material for analysis comprises about 100 film reviews released in 2020. The reviews are in open access in the Internet. The volume of the analysed material is about 200 pages. The method used to achieve the main objective is interpretation analysis of film reviews. As a result of the theoretical material analysis main directions in the genre research were specified; key distinctive features of a film review were studied. The actuality of the research is determined by the rising interest to net mass media discourse genres. The main objective is to elicit and describe lexical and semantic features of film reviews as a speech genre. The conducted research made it possible to prove the interdiscoursive and poly-discoursive nature of the genre in question and to systematize its lexical and semantic features. The analysis disclosed that intertextuality of a film review is actualized in the interaction of three types of discourse: that of the critic, that of the film and that of other people. Poly-discoursive nature of a film review is expressed through the combination of publicistic, literary and scientific styles features. Another important characteristic is evaluativity represented in emotionally coloured vocabulary. Among other lexical and semantic features are the following: usage of non-specific terms, cliches, rhetorical questions with precedent names, intertextual inserting, various stylistic devices, among which epithets and metaphors are most often used. It’s been observed that a film review is filled with bookish vocabulary as well as stylistically low words and expressions.